HEAVY TRAFFIC (1973)

Title: HEAVY TRAFFIC

Year of Release: 1973

Director: Ralph Bakshi

Genre: Animated, Comedy

Synopsis: The adventures, and misadventures, of a male animator in New York City, and the assorted characters with whom he comes into contact.

Within a film history context: Adult animated films did not appear on a regular basis before the 1970s, with only several productions released in the 1950s and 1960s. The first major adult animated film was Joy Batchelor and John Halas' ANIMAL FARM (1954). Based upon the novel by George Orwell, it was a drama about the conflict between the farmer and his animals, and how the bad animals win the battle, but ultimately lose the war to the good animals. This movie set the trend for adult animated films which explored serious subjects in a stimulating manner. HEAVEN AND EARTH MAGIC (1962), directed by Harry Everett Smith, was a more free form film, shot in black and white, about a young woman who encounters various different situations. Daisaku Shirakawa's DOGGIE MARCH (1963) was a Japanese movie about a dog and his exploits in the forest. DOGGIE MARCH is just one example of the predominately international animated productions released in this era. WEST AND SODA (1965), directed by Bruno Bozetto, was an Italian film revolving around a man trying to take advantage of a woman by wresting her land away, but relief comes in the form of a mysterious man intent on helping her. 

Per Ahlin and Tage Danielsson's OUT OF AN OLD MAN'S HEAD (1968) was a Swedish comedy concerning an elderly man reminiscing about his life, the film mainly animated, with a smaller live action component. More controversial was the Japanese A THOUSAND & ONE NIGHTS (1969), directed by Eiichi Yamamoto. The animated adventures of Aladdin traversing through the Middle East were brought to life with much sexual content that set the tone for later films. Osamu Tesuka and Eiichi Yamamoto's KUREOPATORA (1970) was another sex-filled movie, this time following the intrigues of Cleopatra. Next came one of the most notorious adult animated features of all time - FRITZ THE CAT (1972), directed by Ralph Bakshi. Centering around a promiscuous cat in the 1960s who causes all manner of mayhem wherever he proceeds, it was a commercially successful venture for the director, slaying many dragons in its wake. HEAVY TRAFFIC was reminiscent of the director's own FRITZ THE CAT, and similarly sexually-oriented films such as A THOUSAND & ONE NIGHTS, but also, took leaves out of ANIMAL FARM's book.

Where it is most similar to ANIMAL FARM is in delineating the conflict between two opposing parties, which is the crux of the movie. While in ANIMAL FARM it was between the farmer and the animals, then the animals warring in turn among themselves, in HEAVY TRAFFIC tensions flare up between different people for various reasons, mainly power-based tussles, such as the Mafia storyline. The main consequences are generally violent in nature, with little or no reflection upon why these incidents occurred, or a tragic aftermath attached to these. There is a great attention to spectacle, and gore in HEAVY TRAFFIC but, unlike ANIMAL FARM, never any real exploration of sadness, or regret, at what has occurred to the characters. Blood and guts fly around in HEAVY TRAFFIC with regularity, but these are shown to the audience in a black comedic vein than anything else. The film is more nonsensical and irreverent in tone than ANIMAL FARM but, its attention to extreme sexual content takes it into another realm.

Where A THOUSAND & ONE NIGHTS, KUREOPATORA, and FRITZ THE CAT prepared audiences for animated sexual content, HEAVY TRAFFIC goes beyond these examples. While the first two films were mainly concerned with expressions of female nudity and sexuality, in HEAVY TRAFFIC copious male nudity is also featured. In an odd manner, this gave the film a balance in this arena, whereby the two previously mentioned films could have been accused of a concentration of female nudity, and blatant female objectification. On the other hand, having such images blasted at the viewer does make the movie somewhat tiresome, and repetitive. As the overriding intention has been to shock the audience, the film has succeeded in achieving this aim. In its barnstorming, uninhibited way, HEAVY TRAFFIC set a precedent for overt violence, language and sexuality in animated film, something no other movie of its type since has been able to duplicate.

Overview: Ralph Bakshi is an animator who has directed nine films since making his debut in 1972. His first movie, FRITZ THE CAT (1972) was about an iconoclastic cat who indulges in sex, drugs and violence within the film's almost eighty minute runtime. COONSKIN (1974) was another journey into sex and violence by the director, this time with an African-American protagonist giving the Mafia and police a run for their money. WIZARDS (1977) marked a major change in content for Mr Bakshi, with much less sex and violence than his other movies, in this tale of a wizard aiming to control the world via the use of technology. In complete contrast, THE LORD OF THE RINGS (1978) took J.R.R. Tolkien's classic tale, giving it an animated spin, again less strident than Mr Bakshi's first films. Into the 1980s, AMERICAN POP (1981) was a slight return to more racy form for the director, in this story of a Russian Jewish musical family through the years. HEY GOOD LOOKIN' (1982) was concerned with several characters in Brooklyn set during the 1950s. It was a slightly more measured film in terms of its content versus Mr Bakshi's first works, but still had much innuendo and some violence. FIRE AND ICE (1983) was a fantasy about a woman and her son wanting to take over the world during the Ice Ages. Mr Bakshi's final film thus far as director, COOL WORLD (1992) was a combination of animation and live action, in a narrative about an animator who finds himself in the cartoon of his creation, and being pursued by a beautiful woman. HEAVY TRAFFIC was Ralph Bakshi's second film, and one of his most notable works for several reasons.

Apart from FRITZ THE CAT, HEAVY TRAFFIC is striking for its unrestricted scenes of animated sex and violence, accompanied by much coarse language. This allows the director to explore many facets of humanity in an explicit, no holds barred manner. Mr Bakshi here largely presents the underside of New York City, with all of its sleazy aspects on view for viewers to take in and consider. The director does an energetic study of this, leaving very little, if anything, to the viewer's imagination. Mr Bakshi has as his central focus a young animator, highlighting his family life, especially his parents' interfaith marriage, and how the union of a Jewish woman, and an Italian man, is not without its problems. Michael Corleone's reaction to his parents' marriage, their fractured family life, and how he, and his father, and several other characters, handle New York City's many foibles, make up the content of the film. The movie also contains examinations of family, religion, promiscuity, homosexuality, interracial relationships, employment issues, to name a few themes. While the film's intentions to be as honest as possible within the animated format could be seen as being admirable, nonetheless, leaving everything hanging out, as the saying goes, does have its drawbacks for the film as a whole.

The avalanche of sex and violence in HEAVY TRAFFIC, at times, can be overwhelming to take. While it seeks to serve not only a comical but also, a satirical and black comedy purpose, having too much taking place all the time leaves the viewer exhausted mentally. One does have the inclination at times to say, enough already, I have seen that, any more and it is overkill. The director's aim to slaughter as many sacred cows as he can within the film's running time is a monumental feat, and an achievement not to be underestimated. A little more quiet and thought in the film, though, would have done it wonders, spacing the many frenzied segments better, making them more palatable overall. This would have made moments such as Ida's recollections of her childhood, one of the most touching segments of the film, even more powerful. The film's most thoughtful, beautiful moments occur at the movie's conclusion when Michael and Carole are in the park, dancing together. It seems as if all the film's derring-do leads to this, which is surprising, but does give the movie a nice feel at its conclusion, wiping away a little of its overarching grime. In all, the director has to be given credit for making a film that was, and still is, technically excellent, and stands as probably Ralph Bakshi's most unrestricted movie project ever.

Acting: As this is an animated feature there is a small amount of acting as such, with the exception of Joseph Kaufmann and Beverley Hope Atkinson in several live action scenes. Despite appearing in a limited number of scenes in HEAVY TRAFFIC, Joseph Kaufmann makes his presence felt in the movie. An actor with a definite aura of streetwise, nous, and easy charm, Mr Kaufmann's contribution to the film is one of its assets, adding a human note to the sometimes overwhelming melees taking place onscreen.

Soundtrack: HEAVY TRAFFIC has a funky score that is in keeping with the setting and themes of the movie, suiting the melting pot of New York City, and the frayed emotions of the characters in the film. There are a number of songs used in the movie, with 'Scarborough Fair' the most memorable.

Mise-en-scene: As mentioned previously, Ralph Bakshi has assembled a film which is technically very well made. The melding of real outdoor locations with animation is a marvel to witness, and the special effects and lighting used in many instances is eye-popping. The DeLuxe color stock is beautiful, filled with color without ever being overly bright to watch.

Notable Acting Performances: Joseph Kaufmann.

Suitability for young viewers: No. Frequent coarse language, male nudity, female nudity, adult themes, high-level violence.

Overall Grade: C

Link: IMDB Page

Trailer

STAND UP AND BE COUNTED (1972)

Title: STAND UP AND BE COUNTED

Year of Release: 1972

Director: Jackie Cooper

Genre: Comedy, Drama

Synopsis: A newspaper reporter returns to her home town in Denver to cover a story on women's liberation, and finds both her mother, and sister, vocal supporters to her surprise.

Within a film history context: Movies about the women's liberation movement were uncommon before the 1970s. The earliest film dealing with the subject was Sam Wood's KITTY FOYLE (1940). Exploring a young woman's life, specifically how her personal life impacted her life as a whole, and how her emancipated attitudes, for the time, both help, and hinder her, it won an Oscar for Ginger Rogers in the lead role. On the other hand feminism, and portraits of liberated women were more widespread, with quite a few movies dealing with the topic. A notable example from the silent era is MISS HOBBS (1920), directed by Donald Crisp. In this movie, a young woman does all number of things considered advanced for the time, such as dancing barefoot, but finds love with a young man. This is an example of a text where the woman explicitly does not want men, but, in the end, goes the conventional route by not sticking to her guns. In comparison, matters were more racy in Maurice Elvey's British silent HINDLE WAKES (1927). A young woman working in a mill causes a scandal by taking a vacation with, and having an affair with the mill owner's son. It was an examination of female sexuality, authority, and desire that carried weight when first released. A property that would now seem creaky was made several times, firstly in 1918, then 1927, with further remakes in 1931, 1952, and two telemovies in 1957 and 1976. Moving into the 1930s, films with feminist themes could be found among the films of the major motion picture companies.

CHRISTOPHER STRONG (1933), directed by Dorothy Arzner, was important for several reasons. It was the story of a female aviator who defied moral conventions by having an affair with a married Member of Parliament, an event which throws her life into disarray. Apart from its content, it starred Katharine Hepburn, an actress who refused to conform to stereotypes, and directed by Miss Arzner, one of the first, and most prolific female directors in Hollywood history. Both women in their time were trailblazers for their significant achievements in women's rights. A film that was definitely feminist in its execution was Mark Sandrich's A WOMAN REBELS (1936). Again with Katharine Hepburn in the lead role, it told the tale of a headstrong woman in late 1800s Britain who shuns marriage, and becomes editor of a woman's magazine, this leading her to various productive, and personally affecting, situations. Another Katharine Hepburn film with a strong female protagonist was DRAGON SEED (1944), directed by Harold Bucquet and Jack Conway. In this movie, Miss Hepburn was a Chinese woman who took on invading Japanese, leading her fellow citizens in a revolt against them. Yet another Katharine Hepburn vehicle was a feminist text, but with comical asides - George Cukor's ADAM'S RIB (1949). This time around, Miss Hepburn was a lawyer, in combat with husband Spencer Tracy, on opposite sides of the law table. A battle of the sexes, presented in a stimulating and humorous manner, it provided the reliable film team with great roles. Into the 1960s, several risk-taking films looked at the feminist theme with increasing honesty, and explicitness.

I AM CURIOUS - YELLOW (1967), directed by Vilgot Sjoman, was a Swedish film that pushed the cinematic boundaries of acceptability at the time of its release. With plentiful nudity, both male and female, sexual situations, examinations of women's desire, and politics, it was much banned all over the world, but mainly of interest now as a curio, and time capsule. Of a similar, but more comic nature was Richard Wilson's THREE IN THE ATTIC (1968). Three young woman discover that a man they unwittingly share as a boyfriend has been promising each of them loyalty, but they team up to serve him a taste of his own medicine. More dramatic was THE RAIN PEOPLE (1969), directed by Francis Ford Coppola. A young housewife leaves her husband, travelling cross country in her car, becoming involved with a former football player, and a dangerous policeman. Examining the female protagonist's feelings in detail, with a great performance by Shirley Knight, it was a rather turgid affair only notable for its acting. 

Barbara Loden's WANDA (1970) was like THE RAIN PEOPLE, but some differences. As with the lead of THE RAIN PEOPLE, Wanda was a housewife who wishes to escape her existence, but in this case, takes up with an underhanded man who makes her life difficult with his schemes. It is similar to THE RAIN PEOPLE as its lead also descends into a world of falsity which she finds difficulty comprehending. WANDA was notable, though, as it was directed by a woman, and overall mainly controlled artistically by its director, Barbara Loden. STAND UP AND BE COUNTED was another take on the themes of feminism, and women's liberation, containing elements from the above movies, adding its own food for thought.

What it had in common with the other films were female characters who, in many cases, were unhappy with their lives, and how they were seen by men, subsequently seeking to change this. Karen in the movie was probably the most adventurous in this respect - she wanted a child, but did not want the commitment of being with the man who is the father of her child. She only wanted him for his ability to impregnate her, with a healthy child, that she wanted to raise without him. This took out a leaf from the book of such films as CHRISTOPHER STRONG with its character who turned her back on conventions, and pursued romantic involvements seen as scandalous for a woman. It was also reminiscent of A WOMAN REBELS' protagonist, again doing what she wanted in her life, with hardly any thoughts of the place of a man in her life. There was also a slight similarity to I AM CURIOUS - YELLOW's female character, in that she did as she wished, without any regard for norms, or modes of behavior. The difference between the two films is that in STAND UP AND BE COUNTED Karen's predicament is handled in a more discreet, less exploitative manner than I AM CURIOUS - YELLOW's more overtly sexual character. STAND UP AND BE COUNTED also shared aspects of the other movies mentioned above, which it teased out with finesse.

Women rebelling against male influence and interference in their lives also featured in the film. Where films such as THE RAIN PEOPLE and WANDA had women leaving their husbands, and finding various consequences in their respective odysseys, in STAND UP AND BE COUNTED matters were of a different nature. While Yvonne stands up to her husband, a manufacturer of female underwear, and manages to begrudgingly win him over, Hilary is not as lucky. Her husband cannot accept the fact that she is now the breadwinner in their household, and this causes dissension in the marriage. Both of these situations are more true to life, and something that most people could relate to, than people taking to the road in THE RAIN PEOPLE and WANDA. Sometimes this is just not possible, as people cannot leave for one reason or the other, and just have to take whatever happens in their family homes. This adds a note of honesty and tragedy to STAND UP AND BE COUNTED.

Where STAND UP AND BE COUNTED also differed was in the sequences set in the lingerie manufacturing company. With its female staff fed up, and underpaid, it was a recipe for disaster, and the film explores this situation in both a serious, and humorous manner. The contrast between the male executives in their air conditioned offices, and the female workers in the sweat shop, is one of the best parts of the movie, exploring their respective points of view. The consequent riots of the female workers are well-staged, and a smooth combination of comedic, and dramatic elements without becoming heavy. In comparison to the other movies, it had a breezy humor that assisted in furthering its messages without becoming heavy-handed in tone. These are just a few examples as to why STAND UP AND BE COUNTED is a sound example of a film dealing with feminist, and women's liberation themes in an agreeable manner.

Overview: Jackie Cooper was an accomplished actor, in films from childhood, and later in the capacity of television producer and director, among his many credits. Mr Cooper directed only one film in his career, being STAND UP AND BE COUNTED. As this is the case, and there is not a second or further film to compare against by the director, on this basis, only this film will be dissected. STAND UP AND BE COUNTED is, overall, a good viewing experience. Mr Cooper has made an entertaining, thought-provoking film about the women's liberation movement, with events occurring at a good pace, and a smoothness overall to the movie. He deftly presents both sides of the equation, exploring his characters' feelings, and making these palpable to the audience. One can easily comprehend the viewpoints of both his male, and female characters. STAND UP AND BE COUNTED is a movie, though, that does not purport to be deep, or too heavy. The director has maintained the film as light and bright throughout, but with some touching, and telling passages that provide balance. Watching the movie, it is obvious that Mr Cooper has infused it with his expansive personality, especially in the scenes of comedy, which are enjoyable to watch. While the film has definite assets, it also possesses lapses and omissions which would have turned it from a good film, into one much better.

The assortment of characters and situations make for a film that is varied in its content, but there were some stories that did not have as much impact as others. This consequently made the movie lopsided, and at times emotionally uneven. The marital troubles of both Yvonne Kellerman and Hilary McBride made for the most satisfying viewing in terms of the portrayals of, especially, the wives but also, their husbands. The pathos felt by both wives is easily discerned, Mr Cooper adeptly bringing this to the fore. Unfortunately, some of the other stories do not spin out as well. While it is interesting having Sheila as the newspaper reporter, and exploring issues to do with women's liberation, the film does not follow up with the results of her investigations at the end of the movie. Having Sheila speak to her staff at the magazine about her discoveries would have rounded out her part in the movie, and given the story itself more power. In addition, another story in STAND UP AND BE COUNTED is problematic in its execution. Karen's mission to find a suitable candidate to father her child is somewhat amusing but, we never discover why she wants to do this in the first place. What made her wish to do this was not explored adequately, something that again would have strengthened the movie. As they were, these two stories needed much more development than they received. Further explanations, and rationales for characters' behavior would have bolstered the film considerably.

When it comes to the final analysis, STAND UP AND BE COUNTED, though, does reflect well on its director. While it could be described as a glossy comedy of suburban manners, and something that would do better as a television program, this is not entirely the case. Mr Cooper, in keeping the atmosphere airy, has included some comic highlights which do work in the film, and a cast that can ably deliver these without becoming childish. He did demonstrate a social conscience and understanding which translated into a film that both men, and women could enjoy. The director also kept the movie away from elements such as nudity and coarse language which would not have gelled with what was taking place onscreen. In an era when anything went in cinema in terms of content, Mr Cooper has to be lauded from steering the movie far from these. Adding these elements would have made an entirely different, and not as effective film, as STAND UP AND BE COUNTED turned out in its sound manner.

Acting: This is a movie where the acting is very much of a high standard overall. Jacqueline Bisset, as reporter Sheila Hammond, gives a great performance in the film. The part is more suited to her talents than in THE GRASSHOPPER, here her no-nonsense persona works well, and her British accent does not seem out of place, giving the film an international flair. As her boyfriend, airline pilot Eliot Travis, Gary Lockwood is likable, and compatible with Miss Bisset. His personality is better in view here than in the stagnant MODEL SHOP, where he was too restricted. Mr Lockwood's easy smile gives him an amiability that works to his advantage. As Sheila's sister Karen, Lee Purcell contributes a thoughtful performance as the enterprising young feminist who knows her own mind, and acts according to her inner compass. An actress who can easily play naughty or nice, she is both here, and does a fine job. As the man Karen pursues in the movie, Alex Wilson is great as the macho, humorous football player Karen wants as the father of her child. An actor who did not appear in many films, Mr Wilson here displays a gregariousness and winning charm that is fun to watch. Four other actors are worthy of mention here for their parts in the movie.

Anne Francine, as the mother of Sheila and Karen, makes an indelible impression as the liberated Mabel. A unique actress with a deep voice and slightly androgynous nature, Miss Francine is believable in her role, and has a fun sense of comedy well presented by the film. In a small role as Agnes, the ringleader of the older feminists, Nancy Walker is also excellent, although her part definitely should have been bigger, as she was an ace in comic repartee. As Hilary, the put-upon mother and wife, Loretta Swit contributes what is the most touching, realistic portrait of a woman not fully able to pursue her dreams in the movie. Miss Swit's trademark humor is in evidence here, coupled with an undercurrent of pathos that makes her Hilary a fully-rounded character. The final acting of note in STAND UP AND BE COUNTED was by Stella Stevens as Yvonne Kellerman, wife of the lingerie manufacturer. Miss Stevens is spotlighted well here in her role, acquitting herself fully as the underestimated wife wanting to be taken seriously, and deserved much more air time than she received. She blended drama and comedy very well here, and is one of Miss Steven's best portrayals on film.

Soundtrack: STAND UP AND BE COUNTED, most notably, features Helen Reddy's rendition of 'I Am Woman' at the very end of the movie, with lively instrumental versions of the tune at various points during the film. The movie also contains unrelated incidental music such as the piece played during the picketing outside Kellerman's Lingerie Company. In another music segment, Sonny and Cher's 'All I Ever Need Is You' is played during the scene with Sheila and Eliot's in-depth outdoor conversation.

Mise-en-scene: As with all Mike Frankovich productions, the sets are of a high standard, appropriate to the characters and their environs. Some examples are Mabel Hammond's comfortable family home, which had an easy suburban feel, Yvonne Kellerman's mansion, replete with swimming pool, and the modern apartment inhabited by Sheila and Eliot. Hilary McBride's family home has a realistic-looking kitchen, with items assembled in a manner to suggest an incredibly busy family life, complete with rowdy children. Moss Mabry's costuming is also spot on, making each and every character distinctive in terms of dress. Sheila's outfits are reflective of her fashion conscious agenda, being a reporter in the public eye, while Karen's clothes are in keeping with her feminist ideals, with more down to earth garments mainly consisting of plainer blouses and pants. Yvonne's clothing is more glamorous, with furs, and more funky outfits such as super mini skirts implying her being up to the minute in terms of fashion, and living a higher socio-economic level than the other female characters.

Notable Acting Performances: Jacqueline Bisset, Gary Lockwood, Lee Purcell, Alex Wilson, Anne Francine, Nancy Walker, Loretta Swit, Stella Stevens.

Suitability for young viewers: Suitable with parental discretion. Infrequent sexual references.

Overall Grade: B

Link: IMDB Page

THE LAST PICTURE SHOW (1971)

Title: THE LAST PICTURE SHOW

Year of Release: 1971

Director: Peter Bogdanovich

Genre: Drama

Synopsis: Life in the small Texas town of Anarene over the course of 1951-1952, culminating in the closure of the town's only cinema.

Within a film history context: Portraits of Americana, generally set in small towns, have been a staple of cinema for years since the silent era. In many instances these were nostalgic recollections of American life, but sometimes with more caustic narratives. One of the first major films in this vein was Henry King's TOL'ABLE DAVID (1921). The story of a young man from a farming family seeking to be taken seriously as an adult, and life's events assisting him to achieve his wish, was a showcase for silent screen star Richard Barthelmess, and a popular film of its time. It was later remade as a sound movie in 1930 with Richard Cromwell in the lead role of David Kinemon. Another important film was ALICE ADAMS (1923), directed by Rowland Lee, and starring Florence Vidor as the eponymous protagonist. The story of an ambitious young woman wanting to change her financial status, but coming against hurdles, it was later remade in a better known version with Katharine Hepburn in 1935. Another notable film was Irving Cummings' THE JOHNSTOWN FLOOD (1926). A drama concerned with a love triangle, and the imminent consequences of a flood on a town, it starred action player George O'Brien as the male lead, with Janet Gaynor as one of his romantic interests. The 1930s featured many interesting films on the Americana theme for audiences.

POLITICS (1931), directed by Charles Reisner, was a vehicle for Marie Dressler, where a woman, upset with the political corruption in her small town, decides to become a mayoral candidate. Supported by Polly Moran, Karen Morley, and many others, it was an entertaining movie showcase for the actress. Stephen Roberts' ONE SUNDAY AFTERNOON (1933) was more in a romantic style. A dentist looks back on his life, particularly his lost love, who married his best friend. With a trio of attractive players, Gary Cooper as the dentist, Fay Wray as the object of his desire, and Neil Hamilton as the best friend, it was a sentimental journey for the characters. OUR DAILY BREAD (1934), directed by King Vidor, was a drama about unemployed workers who seek work, making a farm successful after a severe drought. One of the liveliest of Americana films was Richard Boleslawski's THEODORA GOES WILD (1936). Starring Irene Dunne as Theodora, it marked a turning point for Miss Dunne in her portrayals. Usually dignified in action and speech, the film allowed Miss Dunne to act opposite to her usual behaviour, with some wacky antics effortlessly combined with more somber interludes. Several other films were notable in the 1930s for employing the Americana theme.

OF HUMAN HEARTS (1938), directed by Clarence Brown, was a drama that contrasted a father and son's lives. The father was a reverend, and the son studying to be a doctor, with Walter Huston, and James Stewart, respectively, in the lead roles. Norman Taurog's THE ADVENTURES OF TOM SAWYER (1938) was an adaptation of the classic story with Tommy Kelly in the lead role of the adventurous young boy, with support from May Robson as Aunt Polly, and Walter Brennan as Muff Potter. In a similar classical vein was YOUNG MR. LINCOLN (1939), directed by John Ford. The story of a young Abraham Lincoln gearing up for one of his best cases, it starred Henry Fonda in one of his most memorable roles. The 1940s had equally interesting meditations on the Americana theme.

Religion received a workout in ONE FOOT IN HEAVEN (1941), directed by Irving Rapper. The biography of Methodist minister William Spence was given a suitably sympathetic treatment by the director, with Fredric March in the lead, and Martha Scott as his wife Hope. Entirely different in tone was Michael Curtiz's YANKEE DOODLE DANDY (1942). The life of composer and actor, among many talents, of George M. Cohan, was vividly brought to life with the inimitable James Cagney lighting up the screen as Mr Cohan, and earned James Cagney a much-deserved Oscar for best lead actor. Darker in its execution was SHADOW OF A DOUBT (1943), directed by Alfred Hitchcock. Presenting the underside of the Americana theme, it followed a young girl who begins to suspect that her uncle is a psychopathic murderer. A tense film with excellent performances by Teresa Wright as the girl, and Joseph Cotten as her uncle, it was another great film from the director. Irving Rapper's THE ADVENTURES OF MARK TWAIN (1944) was a look into the life of the renowned American novelist, with Fredric March in the titular role. Fondly remembered by both critics and audiences was MEET ME IN ST. LOUIS (1945), directed by Vincente Minnelli. The story of a family at the beginning of the century, its warmth and dignity made it a favourite, and with an excellent cast headlined by Judy Garland, with Margaret O'Brien and Mary Astor in support, fine family fare. Several other films made in the 1940s also explored the Americana theme in an irresistible manner.

Otto Preminger's CENTENNIAL SUMMER (1946) was similar to MEET ME IN ST. LOUIS but in this instance, set in 1870s Philadelphia. It centered around a couple and their family, with the Centennial exposition a key backdrop to the many comic, and romantic incidents. As with MEET ME IN ST. LOUIS, it also gave Dorothy Gish, Constance Bennett, Linda Darnell, Jeanne Crain, and Cornel Wilde plenty of glowing moments. TILL THE END OF TIME (1946), directed by Edward Dmytryk, was a contemporary drama of World War II marines adjusting to civilian life, presented with candor for the time. A finely rendered, sensitive drama with Robert Mitchum and Guy Madison as the brawny former marines, and Dorothy McGuire and Jean Porter as their love interests. Henry King's MARGIE (1946) was a romance about a young woman who falls for her good-looking professor in the 1920s. With Jeanne Crain in the eponymous role, and Glenn Langan as her amour, it was another pleasant trip into nostalgia. One of the most cherished movies about returning soldiers was THE BEST YEARS OF OUR LIVES (1946), directed by William Wyler. An intensive study of the soldiers and their families, and the affect of serving in the armed forces had on them, it had a wonderful cast consisting of Myrna Loy, Fredric March, Dana Andrews, Teresa Wright, and many others. A film that deserved its high box office returns, it was a singular viewing experience, and still carries weight more than seventy years after its first release. With the advent of television films about Americana were not as easily in evidence as they were in the 1930s and 1940s, but there were still quite a few memorable films made after the 1950s.

Abby Berlin and Norman Foster's FATHER IS A BACHELOR (1950), set in the late 1800s, mined comedy and romance territory with success. A young man arrives in a small town to discover five siblings in a cabin, and acts as their uncle in order for them to avoid being separated. He becomes friendly with the local school teacher, but to keep the children, there is a catch; he has to marry. In a much more dramatic vein was I WANT YOU (1951), directed by Mark Robson. An examination of the effect of military conscription on a town's characters, specifically regarding the Korean War, it was another taut film for Mr Robson, with an illustrious cast including Dana Andrews, Dorothy McGuire, Farley Granger, and Mildred Dunnock. Vincente Minnelli's THE LONG, LONG TRAILER (1954) was completely opposite in nature, a comedy about an engaged couple who have a difference of opinion - he wants to buy a house, while she wants a house, on wheels. This was a sprightly film for real life couple Lucille Ball and Dezi Arnaz, with scenic photography and many humorous moments. Rousing was the word for OKLAHOMA! (1956), directed by Fred Zinnemann. Based upon the Rodgers and Hammerstein stage musical, it was a joyous ride filled with action, colour, comedy and music, and the easy-going pairing of Shirley Jones and Gordon MacRae. As the years progressed several more movies employed the Americana theme in diverse ways.

George Stevens' GIANT (1956), based upon Edna Ferber's novel, was a film about a Texas cattle rancher, his wife, and, especially, the iconoclastic handyman, played with passion by James Dean. A great box office success filmed in beautiful colour, it earned Mr Stevens an Oscar for best direction, and plaudits for its many fine performances. At the end of the 1950s SOME CAME RUNNING (1958), directed by Vincente Minnelli, arrived on screens. A drama about a war veteran returning to his home town, and finding much action and intrigue with the locals, gave Frank Sinatra a meaty role, with Dean Martin and Shirley McLaine also coming off well. Into the 1960s came David Swift's POLLYANNA (1960). The tale of a young girl in a 1910s small town, it was previously filmed with Mary Pickford in the lead role in 1920, but this time around with Hayley Mills as the orphan Pollyanna. 1963 brought forth one of the best films with an Americana theme, HUD, directed by the reliable Martin Ritt. The adaptation of Larry McMurty's novel was an excellent showcase for actors Paul Newman, Melvyn Douglas, Patricia Neal, and Brandon de Wilde, in this strong tale of a Texas cattle rancher and his ne-er-do-well son, and their simmering conflict. THE LAST PICTURE SHOW was in keeping with multi-character narratives such as THE BEST YEARS OF OUR LIVES, where the audience can relate to a large number of characters, offering different viewpoints, but also, shared similarities to Americana films with smaller casts, such as HUD.

THE LAST PICTURE SHOW is an excellent example of a film with a large cast, and where all the characters receive equal treatment within the course of the movie. Even though some of the characters do not share as much screen time as others, a prime example being Genevieve, the film is made in such a manner that the viewer never feels cheated that one character appears more than another. The use of dialogue, settings, and body language make the characters' purposes clear and transparent, no matter how brief their time is on screen. This is one of many assets that the film possesses, being how to make the most of very little time in some cases to make the maximum impact. THE BEST YEARS OF OUR LIVES is most akin to THE LAST PICTURE SHOW in this respect, fluidly moving from one character, and one situation to the next with ease. THE LAST PICTURE SHOW is also similar to HUD in several ways. While both films have been adapted from novels written by Larry McMurtry, they share the same lusty good humour, and in-depth attention to details and characters that make them thoroughly three-dimensional figures. THE LAST PICTURE SHOW is also interesting for various other reasons.

The sexual content is another factor that distinguishes THE LAST PICTURE SHOW from its counterparts in the Americana category. The majority of the films before 1960 contained subtle sexual content, more in terms of implying sexuality instead of presenting it head on. There was a more romantic and family oriented slant at play in this era, but THEODORA GOES WILD was the one film that cleverly played with issues of morality, promiscuity, and women's personal rights in both a humorous, and thought-provoking manner. Ten years later, TILL THE END OF TIME had its male actors, particularly Guy Madison, in a state of undress, with a burgeoning sexuality apparent. With THE LAST PICTURE SHOW the seal had been pulled off the wrapper, with a level of sex and nudity not seen in any of the earlier films. Where the film does hark back to the more straight-laced narratives is that none of the illicit or adulterous liaisons lead to anything except despair and unhappiness. This is one of the features that gives the movie a memorable, somber, and realistic tone. Even though the film is secular in its presentation, with hardly no mention of religion in the diegetic world, there is an unspoken nod to morality in light of the characters' hedonistic excesses in many instances, and the consequences of their actions.

The evocation of small town life is something else that THE LAST PICTURE SHOW does differently than the other films Americana films. Where movies such as THEODORA GOES WILD, with its pleasant landscapes and interiors, and others such as MEET ME IN ST. LOUIS and CENTENNIAL SUMMER, had lavish and comfortable family homes, with overt and gossipy characters in the mix, THE LAST PICTURE SHOW works on a more subtle level with its mise-en-scene. The dusty, windy landscapes can be seen as a metaphor for the characters' restless natures, thereby reflecting their bleak and rootless state of mind. In addition, there are no characters prone to conjecture who analyse their fellow residents' lives; this type of information is instead conveyed from one character to another in a more naturalistic way. THE LAST PICTURE SHOW is lacking in stereotypical characters who act a certain predictable way, thereby setting it apart from other Americana movies. These are just some of the reasons why THE LAST PICTURE SHOW is one of the most insightful motion pictures ever made, and an excellent example of film Americana.

Overview: Peter Bogdanovich is a director with seventeen movies to his credit, making his debut in 1968, with a film currently in pre-production. His motion pictures cover a wide range of territory, from nostalgic recollections of Americana, many times with filmic themes, dramas, comedies, romantic comedies, to more escapist fare. His first film, TARGETS (1968) was a drama about a horror movie actor at a drive-in cinema making contact with a psychotic Vietnam veteran on a killing spree. It was an auspicious first film for Mr Bogdanovich, with moments of sheer terror and violence blended with suspense. Next came the science fiction VOYAGE TO THE PLANET OF PREHISTORIC WOMEN (1968) which was largely devoted to female objectification. The 1970s was a decade of artistic expansion for Mr Bogdanovich, with many memorable films directed by him in this era.

WHAT'S UP DOC? (1972) was a high grossing comedy about a farcical situation; four overnight bags cause havoc when they are mixed up, leading to many wacky set pieces. Notable for the teaming of Ryan O'Neal and Barbra Streisand, and as a homage to the comedies of the 1930s, it was very popular with audiences. PAPER MOON (1973) was another film that made money, this time, charting the relationship between a man and a young girl during the Depression. Notable as the first time Mr Bogdanovich directed real-life father and daughter Ryan O'Neal and Tatum O'Neal, it was a pleasant production with nice period touches. The director's 1970s movies after PAPER MOON were less successful at the box office, but still interesting films.

DAISY MILLER (1974) was a period drama about the eponymous title character who charms and mystifies her admirer Frederick Winterbourne. Another of Mr Bogdanovich's pieces set in another age, it starred Cybill Shepherd in the lead role, with Cloris Leachman, Eileen Brennan, and Mildred Natwick in support. A different take on the 1930s musicals, and lushly produced, AT LONG LAST LOVE (1975) was, unfortunately, a critically derided film that again featured Cybill Shepherd, with Burt Reynolds and Madeline Kahn. NICKELODOEN (1976) marked one of the last of Mr Bogdanovich's films with a period background, this time a story of two men, Ryan O'Neal and Burt Reynolds, who become involved in the silent film business. The director's final film of the 1970s, SAINT JACK (1979) was a drama about a shady man who seeks to establish a bordello, with the Vietnam War offering an opportunity to do this. One of Mr Bogdanovich's more adult films in orientation, it neverthless lost money at the box office. The 1980s and beyond allowed the director to exercise his creative muscles in varied productions.

THEY ALL LAUGHED (1981) was a change of pace for Mr Bogdanovich, a comedy about intrigue surrounding a team of private investigators. MASK (1985) was a financially successful drama about a young man with a facial deformity, and his determined mother who does her best to make a life for him. Starring Cher as the mother, and Eric Stoltz as her son, it struck a chord with audiences, and was a fine return to form for the director. ILLEGALLY YOURS (1988) was a comedy about a young man summoned for jury service, but trying his very best to prove his true love innocent, and becoming involved in a complicated chain of events. TEXASVILLE (1990) was the sequel to THE LAST PICTURE SHOW, reuniting many of the characters from the first film, and introducing new ones to the audience. 

Next came NOISES OFF (1992) a comedy about a theatrical group and their zany, haphazard antics. Featuring an illustrious cast including Carol Burnett, Michael Caine and many others, it was a return to comedy for the director. Comedy, though in a less overt form, came in THE THING CALLED LOVE (1993). With a young cast including River Phoenix, Samantha Mathis, Dermot Mulroney and Sandra Bullock, it was an entertaining story about the lives and loves of several aspirants to the country music scene. THE CAT'S MEOW (2001) was a return to period pieces, this time charting the mysterious death of producer Thomas Ince aboard William Randolph Hearst's yacht in 1924. Mr Bogdanovich's final film to date is 2011's SHE'S FUNNY THAT WAY, a comedy about the goings-on surrounding a playwright, his wife, and several others that develops into a love triangle of sorts. His third motion picture, THE LAST PICTURE SHOW, is widely regarded as Peter Bogdanovich's best film, and rightfully so.

The adaptation of Larry McMurtry's novel has been given a vigorous, polished treatment by Mr Bogdanovich, retaining the best qualities of the book, and emphasizing these to great effect in the film version. He has made each and every character, scene, and story element thoroughly memorable, largely doing away with character traits from the novel which would have hampered the film on screen. Examples such as making Sonny a more sympathetic, less promiscuous protagonist than the book offered, and also, giving Duane a more fully-rounded treatment, work exceedingly well in the screen version of THE LAST PICTURE SHOW. While the film has a concentration of sexual content, it is depicted in a downcast manner, differing from the novel somewhat. The novel contained aimless sexuality that did nothing for the characters concerned; the film version toned this down, giving the film both a realistic, and tragic feel in retrospect. Sex is a means to an end that only provides the characters with angst, something they are attempting to escape through it, but it reaps them no discernible benefit. Other features of THE LAST PICTURE SHOW stand out in comparison to Mr Bogdanovich's other movies.

THE LAST PICTURE SHOW also showcases the director's ease with films set in a past age, something also demonstrated in PAPER MOON, DAISY MILLER, THE CAT'S MEOW, NICKELODOEN, and AT LONG LAST LOVE. THE LAST PICTURE SHOW, though, is just so convincing visually in every way that it is easy to become caught up in it, and believe that it may have been a documentary from 1951 Texas. The sense of honesty, sympathy for its milieu and characters, just shine on the screen with such veracity that make it a convincing, emotionally rewarding viewing experience. It is akin to PAPER MOON not only because both films were shot in black and white, but the character relationships are delineated in an equally vibrant manner. The difference is that in THE LAST PICTURE SHOW this is compounded through its multi-character narrative, and one receives a larger number of fascinating viewpoints. One of the best films ever made, and a credit to the director and his team from the movie, THE LAST PICTURE SHOW is a wonderful, thoughtful cinematic experience.

Acting: THE LAST PICTURE SHOW is one movie where the performances are all excellent, befitting the film's reputation as a classic. In the lead role of Sonny Crawford, Timothy Bottoms excels as the quiet yet strong, pensive young man with more scruples than most. A character of a more cerebral nature in the movie, Mr Bottoms does a splendid job, his work giving the film a meditative tone. Jeff Bridges is equally fine as the brash Duane Jackson, Sonny's best friend and polar opposite. The film employs his unabashed charm to advantage, but adding a darker side which Mr Bridges accomplishes well, giving his Duane great depth. Cybill Shepherd is also striking as Jacy Farrow, the object and both Sonny and Duane, and others' desires. What could have been a shallow ingenue is brought to life by Miss Shepherd, giving her both a dramatic edge, but also, a comic side that provides the character with a nerviness that works. Ellen Burstyn is showcased in the film in one of her best parts as Lois Farrow, the restless mother of Jacy. It was a revealing role as Miss Burstyn showed her character as the vulnerable, wistful woman she really was, that played with the initial displays of toughness and bravado. Cloris Leachman is wonderful as Ruth Popper, a woman of many emotional layers. Ruth's climactic scene with Sonny covers a wide spectrum of feelings, from anger, sympathy, understanding, to remorse, and is her shining hour in the film. Several other performances are worthy of analysis here, as they also contribute much to the film.

Ben Johnson's Sam the Lion is another well-drawn, authentic depiction of a man who has seen a lot in his life, and will not tolerate certain things any more. Mr Johnson's Sam is alternately tough, persistent, forgiving and patient, his hard stare filled with meaning. Eileen Brennan is utterly excellent as the world-weary Genevieve, who, apart from Sam the Lion, is one of the only people in town whose head is attached properly, but with a heart of gold. Just listening to Genevieve's dialgoue is a delight, so purely realistic but also, genuinely touching. As Abilene, Clu Galager cut a figure of inviting danger in the film. As with all the performers in the movie his face many times does all the talking without an abundance of dialogue. An actor for whom this greatly applies is Sam Bottoms, as Billy, Sam's ward. Without uttering a word Mr Bottoms makes one feel for Billy, especially during the scenes after his cruel encounter with a prostitute. The final acting of note in THE LAST PICTURE SHOW was by Gary Brockette as the tempting, intriguing Bobby Sheen. Mr Brockette mainly lets his eyes, smile, and soothing voice do all the talking as the attractive Bobby, someone adept at both winning, and breaking hearts in equal measure.

Soundtrack: THE LAST PICTURE SHOW is a film which has a substantial amount of diegetic music from the 1950s which enhances the movie as a whole. It is used to comment on the action taking place in a natural way, obviating the need for background musical accompaniment. Scenes such as Sonny in the car, listening to the radio, the music in the pool hall, the soft, romantic melodies playing in Jacy's bedroom, all provide valuable information about the characters in a subtle, pleasant, easy-going manner. More ironic uses of music are especially evident at the start of the pool party sequence, the record player blaring as Jacy and Lester enter. As with other 1970s movies, there is the playing of a tune at both the beginning, and end of the film. In this case it is Hank Williams' 'Why Don't You Love Me Like You Used To Do'. While at the film's start it is part of the diegesis, playing on his car radio, at the end it is played over the final credits in a non-diegetic manner. There is a contrast inherent between its use at these parts, showing the audience what they have learned from the film, and how expectations may have changed from initial viewings of the movie, to what they gleaned from it when it ended.

Mise-en-scene: The film begins with a black screen containing a font with the film's title in white, and the final credits are of the actors with the actors followed by black screens with the names of personnel working on the movie. This spare approach works as the film both begins, and ends in a parallel fashion, without glossiness. This is indicative of the movie as a whole, with cinematographer Robert Surtees capturing the town, and its locations, without making them glamorous, but instead highlighting their stark, harsh, and sometimes unforgiving flatness.

Notable Acting Performances: Timothy Bottoms, Jeff Bridges, Cybill Shepherd, Ellen Burstyn, Cloris Leachman, Ben Johnson, Eileen Brennan, Clu Galager, Sam Bottoms, Gary Brockette.

Suitability for young viewers: No. Infrequent coarse language, male nudity, female nudity, adult themes, medium-level violence.

Overall Grade: A

Link: IMDB Page

Trailer